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| Rome Celebrates the Short, but Beautiful, Life of Raphael | Rome Celebrates the Short, but Beautiful, Life of Raphael |
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| ROME — To commemorate the 500th anniversary of the death of Raphael, curators of the blockbuster exhibition that opened this week at the Scuderie del Quirinale exhibition space here have gone for a Benjamin Button approach. | ROME — To commemorate the 500th anniversary of the death of Raphael, curators of the blockbuster exhibition that opened this week at the Scuderie del Quirinale exhibition space here have gone for a Benjamin Button approach. |
| The exhibition starts by refreshing our memories about Raphael’s repute at the time of his unexpected death in 1520, when the Renaissance artist was still in his prime and enjoying A-list status. It then traces his artistic development in reverse, ending with his early years in Urbino, Italy, where he was born in 1483. | The exhibition starts by refreshing our memories about Raphael’s repute at the time of his unexpected death in 1520, when the Renaissance artist was still in his prime and enjoying A-list status. It then traces his artistic development in reverse, ending with his early years in Urbino, Italy, where he was born in 1483. |
| His untimely death at 37 is also a sobering “memento mori” at a time when the coronavirus outbreak has cast uncertainty over the world and caused the closure of schools, universities, theaters and museums across Italy. | His untimely death at 37 is also a sobering “memento mori” at a time when the coronavirus outbreak has cast uncertainty over the world and caused the closure of schools, universities, theaters and museums across Italy. |
| “Raphael was young when he died,” said Eike Schmidt, the director of the Uffizi Galleries in Florence, which organized the exhibition with the Scuderie and lent nine paintings and 49 drawings. “But, in any case, beauty is stronger, that is certainly the message that emerges from these works here.” | “Raphael was young when he died,” said Eike Schmidt, the director of the Uffizi Galleries in Florence, which organized the exhibition with the Scuderie and lent nine paintings and 49 drawings. “But, in any case, beauty is stronger, that is certainly the message that emerges from these works here.” |
| Unfortunately, he added, the coronavirus outbreak makes this message “topical.” | Unfortunately, he added, the coronavirus outbreak makes this message “topical.” |
| While some museums in the northern region of Lombardy closed because of the virus, those in Rome were open, for now, though visitors are expected to remain one meter — about three feet — apart from each other. | While some museums in the northern region of Lombardy closed because of the virus, those in Rome were open, for now, though visitors are expected to remain one meter — about three feet — apart from each other. |
| Mario De Simoni, the president of the organization that runs the Scuderie del Quirinale, said that few of the 60,000 pre-booked tickets for the Raphael exhibition had been canceled, so far. The show remains a unique experience, with more than 200 works on display, including 27 paintings by Raphael, insured overall for more than 3 billion euros: “The highest insurance ever stipulated in Italy,” he said. | Mario De Simoni, the president of the organization that runs the Scuderie del Quirinale, said that few of the 60,000 pre-booked tickets for the Raphael exhibition had been canceled, so far. The show remains a unique experience, with more than 200 works on display, including 27 paintings by Raphael, insured overall for more than 3 billion euros: “The highest insurance ever stipulated in Italy,” he said. |
| For centuries, Raphael’s art was idealized as the epitome of perfection, inspiring generations of artists, and the 120 autograph works on display — a mix of paintings and drawings — cement that reputation. | For centuries, Raphael’s art was idealized as the epitome of perfection, inspiring generations of artists, and the 120 autograph works on display — a mix of paintings and drawings — cement that reputation. |
| But the curators have also fleshed out the role Raphael played in the Rome of Pope Leo X (1513-21), when the artist turned his mind to architecture, archaeology and antiquarian studies in service of the grand project of reconstructing and preserving the ancient city. It was then that Raphael’s star shone brightest. | But the curators have also fleshed out the role Raphael played in the Rome of Pope Leo X (1513-21), when the artist turned his mind to architecture, archaeology and antiquarian studies in service of the grand project of reconstructing and preserving the ancient city. It was then that Raphael’s star shone brightest. |
| The tapestries he created under Leo X made his classical, canonical style celebrated across the world, said Sylvia Ferino Pagden, the art historian who led the exhibition’s scientific committee. Leo X commissioned those tapestries to decorate the walls of the Sistine Chapel, his contribution to the already renowned decorative program of the space where popes are elected. They were designed by Raphael and crafted in Pieter van Aelst’s workshop in Brussels. | The tapestries he created under Leo X made his classical, canonical style celebrated across the world, said Sylvia Ferino Pagden, the art historian who led the exhibition’s scientific committee. Leo X commissioned those tapestries to decorate the walls of the Sistine Chapel, his contribution to the already renowned decorative program of the space where popes are elected. They were designed by Raphael and crafted in Pieter van Aelst’s workshop in Brussels. |
| Raphael didn’t live long enough to see the tapestries in situ, but for one week last month, the Vatican exhibited all ten tapestries in the Sistine Chapel, as part of the Vatican Museums’ homage to the artist. | Raphael didn’t live long enough to see the tapestries in situ, but for one week last month, the Vatican exhibited all ten tapestries in the Sistine Chapel, as part of the Vatican Museums’ homage to the artist. |
| One of those tapestries, “The Sacrifice at Lystra,” is on loan from the Vatican, next to a high resolution digital facsimile of the cartoon, or preparatory drawing, of the scene which is on display at the Victoria and Albert Museum in London. It is flanked by a small first-century funerary altar, also from the Vatican collection, and a second-century relief with a sacrificial scene from the Uffizi that demonstrate the deep influence of ancient art on the artist, a theme that is explored throughout the exhibition. | One of those tapestries, “The Sacrifice at Lystra,” is on loan from the Vatican, next to a high resolution digital facsimile of the cartoon, or preparatory drawing, of the scene which is on display at the Victoria and Albert Museum in London. It is flanked by a small first-century funerary altar, also from the Vatican collection, and a second-century relief with a sacrificial scene from the Uffizi that demonstrate the deep influence of ancient art on the artist, a theme that is explored throughout the exhibition. |
| Raphael had plenty of hands-on experience with the classical. In 1515, Leo X commissioned him to conserve the ancient marbles and inscriptions of Rome, making the artist the first appointed caretaker of ancient art, a position that over the centuries evolved into Italy’s multifaceted artistic heritage administration of today. On display is one of the drafts of a now famous letter to Leo X written by Raphael and his friend Baldassare Castiglione, in 1519, about the need to protect and preserve Rome’s ancient monuments. | Raphael had plenty of hands-on experience with the classical. In 1515, Leo X commissioned him to conserve the ancient marbles and inscriptions of Rome, making the artist the first appointed caretaker of ancient art, a position that over the centuries evolved into Italy’s multifaceted artistic heritage administration of today. On display is one of the drafts of a now famous letter to Leo X written by Raphael and his friend Baldassare Castiglione, in 1519, about the need to protect and preserve Rome’s ancient monuments. |
| The letter is showcased alongside Raphael’s famous portrait of Castiglione, on loan from the Louvre, as well as Raphael’s portrait of Leo X with Cardinals Giulio de’ Medici and Luigi de’ Rossi, on loan from the Uffizi. The inclusion of this painting in the show caused a kerfuffle last month, after the Uffizi’s scientific committee resigned en masse in protest of the loan. The portrait, they said, was one of 23 works that should never leave the Uffizi because they were part of the identity of the collection. | The letter is showcased alongside Raphael’s famous portrait of Castiglione, on loan from the Louvre, as well as Raphael’s portrait of Leo X with Cardinals Giulio de’ Medici and Luigi de’ Rossi, on loan from the Uffizi. The inclusion of this painting in the show caused a kerfuffle last month, after the Uffizi’s scientific committee resigned en masse in protest of the loan. The portrait, they said, was one of 23 works that should never leave the Uffizi because they were part of the identity of the collection. |
| “The problem is not the exhibition, it’s the Uffizi,” said Tomaso Montanari, a professor of art history at the University for Foreigners in Siena, and a former member of the committee, which had advised against the loan. “Our job was to give advice, and create a policy with the director,” he said. But if the director ignores that advice, “it makes it difficult to stay,” he said. | “The problem is not the exhibition, it’s the Uffizi,” said Tomaso Montanari, a professor of art history at the University for Foreigners in Siena, and a former member of the committee, which had advised against the loan. “Our job was to give advice, and create a policy with the director,” he said. But if the director ignores that advice, “it makes it difficult to stay,” he said. |
| Mr. Schmidt, the director of the Uffizi, said the painting had been restored recently, and was in prime condition to travel. | Mr. Schmidt, the director of the Uffizi, said the painting had been restored recently, and was in prime condition to travel. |
| The committee, he noted, had argued that the painting should remain at the Uffizi because it was “identified” with the city of Florence. Mr. Schmidt disagreed. “It may be identified with Florence, but also with Rome,” he said, because it is a portrait of a pope. | The committee, he noted, had argued that the painting should remain at the Uffizi because it was “identified” with the city of Florence. Mr. Schmidt disagreed. “It may be identified with Florence, but also with Rome,” he said, because it is a portrait of a pope. |
| Through delicate drawings, the exhibit retraces Raphael’s artistic foray in the papal palace, where he painted a vast corridor space under Leo X, through the papacy of Julius II, for whom he painted part of the building’s apartments known as Raphael’s Rooms. | Through delicate drawings, the exhibit retraces Raphael’s artistic foray in the papal palace, where he painted a vast corridor space under Leo X, through the papacy of Julius II, for whom he painted part of the building’s apartments known as Raphael’s Rooms. |
| Visitors to Rome can also see Raphael’s frescoes at the so-called Villa Farnesina, commissioned by the banker Agostino Chigi, a friend of the artist who died just a few days after Raphael. Sketches for those frescoes are on show here, as are those for the Chigi chapel in Santa Maria del Popolo, which Raphael also designed. | Visitors to Rome can also see Raphael’s frescoes at the so-called Villa Farnesina, commissioned by the banker Agostino Chigi, a friend of the artist who died just a few days after Raphael. Sketches for those frescoes are on show here, as are those for the Chigi chapel in Santa Maria del Popolo, which Raphael also designed. |
| That chapel was inspired by the Pantheon, the ancient monument Raphael so admired (his sketches of the monument are on exhibit) that he asked to be buried there. | That chapel was inspired by the Pantheon, the ancient monument Raphael so admired (his sketches of the monument are on exhibit) that he asked to be buried there. |
| His request was granted, and he was entombed on April 7, 1520, the day after his death. Factum Arte, the Madrid-based cultural conservation company, have created a scale model of the tomb, removing some later renovations. “There’s a lovely dialogue between here and the Pantheon,” said Adam Lowe, the company’s founder and director. | His request was granted, and he was entombed on April 7, 1520, the day after his death. Factum Arte, the Madrid-based cultural conservation company, have created a scale model of the tomb, removing some later renovations. “There’s a lovely dialogue between here and the Pantheon,” said Adam Lowe, the company’s founder and director. |
| Raphael’s sudden death devastated Rome. “All the hopes in him, and that idea of a golden age that would continue, were all of a sudden truncated,” said Ms. Ferino Pagden, the art historian. | Raphael’s sudden death devastated Rome. “All the hopes in him, and that idea of a golden age that would continue, were all of a sudden truncated,” said Ms. Ferino Pagden, the art historian. |
| Leonardo da Vinci lived to 67, Michelangelo to 88. We will never know how Raphael’s style would have developed, if he had lived longer, she said. “One can dream.” | Leonardo da Vinci lived to 67, Michelangelo to 88. We will never know how Raphael’s style would have developed, if he had lived longer, she said. “One can dream.” |
| RaphaelThrough June 2 at the Scuderie del Quirinale in Rome; scuderiequirinale.it. | RaphaelThrough June 2 at the Scuderie del Quirinale in Rome; scuderiequirinale.it. |